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Family ‘Since Then’, Theatrical Healing and Political Subjectivation

  • The Journal of Korean drama and theatre
  • 2019, (65), pp.137-164
  • DOI : 10.17938/tjkdat.2019..65.137
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : July 31, 2019
  • Accepted : September 23, 2019
  • Published : September 30, 2019

YANG GEUNAE 1

1서울대학교

Accredited

ABSTRACT

Since the Sewol Ferry disaster, our society has suffered from sadness and anger in the place of being unable to save a child, and has accepted guilt as the sentiment of the times. The family of the victims named as 'bereaved family' is the people who becomes visible due to the social disaster and the face of others which confirms ‘sovereign depression.’ It was cautious matter that a play directly addressed the sadness of the bereaved family. For that reason, many plays showed the status of ‘incapable mourning’ that means the emotion of unaccepting the loss, rather than represented the suffering experienced by them. Through the mother’s voice telling about her dead child and the actor’s body showing the body of the child in memory, theaters have wished to share the sadness of the bereaved family. ‘416 Family Theater Company, Yellow Ribbon’ which is composed of the mothers of the victims and the survivors put on the play Jang-gi-ja-lang(Talent Show) that told the story of the children. The mothers who come on the stage and wear the sacrificed children’s school uniforms are the actors who are born by the will to live in place of, and along with the dead children. The actors are living with the dead children’s names written inside of their own existences. The play Jang-gi-ja-lang(Talent Show) proves that a play exists on the opposite site of the real incident, but for the incident also. Recent plays that address social disasters criticize ‘being like the bereaved family’ that enforces the bereaved family and solidify it with other persons involved in other social disasters so that they suggest the birth of political subject after incidents. The face of the bereaved family was called on the stage as the medium that evokes the social disaster cautiously, but intensely. Unsimplified images of the bereaved family press people to remember and consider the disaster, and reconsider the victim as the political subject. In the process, the bereaved family meets another family - theatrical people - and return the question of what a play is. Family was reconstituted since the Sewol Ferry disaster.

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